A New Digitized Menu Collection Lets You Revisit the Cuisine from the “Golden Age of Railroad Dining”

The com­ing of the rail­road in the U.S. of the 19th cen­tu­ry meant unprece­dent­ed oppor­tu­ni­ty for millions—a tri­umph of trans­porta­tion and com­merce that changed the coun­try for­ev­er. For many more—including mil­lions of Amer­i­can bison—it meant cat­a­stro­phe and near extinc­tion. This com­pli­cat­ed his­to­ry has pro­vid­ed a rich field of study for schol­ars of the period—who can tie the rail­road to near­ly every major his­tor­i­cal devel­op­ment, from the Civ­il War to pres­i­den­tial cam­paigns to the spread of the Sears mer­chan­dis­ing empire from coast to coast.

But as time wore on, pas­sen­ger trains became both more com­mon­place and more lux­u­ri­ous, as they com­pet­ed with air and auto trav­el in the ear­ly 20th cen­tu­ry. It is this peri­od of rail­road his­to­ry that most attract­ed Ira Sil­ver­man as a grad­u­ate stu­dent at North­west­ern Uni­ver­si­ty in the 1960s. While enrolled at Northwestern’s Trans­porta­tion Cen­ter in Evanston, Illi­nois, Sil­ver­man and his class­mates found end­less “oppor­tu­ni­ties for research, adven­ture, and unpar­al­leled feast­ing,” writes Claire Voon at Atlas Obscu­ra.

Sil­ver­man espe­cial­ly took to the din­ing cars—and more to the point, to the menus, which he col­lect­ed by the dozens, “even­tu­al­ly amass­ing an archive of 238 menus and relat­ed pam­phlets. After a long career in tran­sit, he donat­ed the col­lec­tion to his alma mater’s Trans­porta­tion Library, which recent­ly dig­i­tized it in its entire­ty.” Silverman’s col­lec­tion rep­re­sents “35 Unit­ed States and Cana­di­an rail­roads,” points out North­west­ern, and its con­tents most­ly date from the ear­ly 60s to the 1980s—from his most active years rid­ing the rails in style, that is.

But Sil­ver­man was also able to acquire ear­li­er exam­ples, such as a 1939 menu “once perused by pas­sen­gers aboard the famed 20th Cen­tu­ry Lim­it­ed train,” Voon writes, “which trav­eled between New York City and Chica­go.” Twen­ty years after this menu’s appear­ance, Cary Grant, “play­ing an adman in Alfred Hitchcock’s North by North­west, orders a brook trout with his Gib­son” while rid­ing the same line. The Art Deco menu for the “new stream­lined” line fea­tures such del­i­ca­cies as “gen­uine Russ­ian caviar on toast and grilled French sar­dines.”

Even kids’ menus—now reli­ably dom­i­nat­ed by chick­en fin­gers, piz­za, PB&Js, and mac & cheese—offered far more sophis­ti­cat­ed din­ing than we might expect to find, with “items such as grilled lamb chops, roast beef, and sea­son­al fish” on the North Coast Lim­it­ed menu below. “The mid-20th cen­tu­ry seems to have been a gold­en age of rail­road din­ing,” remarks North­west­ern Trans­porta­tion Librar­i­an Rachel Cole. “It was nev­er some­thing that rail­roads prof­it­ed on, but they used it to com­pete against each oth­er and attract pas­sen­gers,” tak­ing pride in “selec­tions that would be rivaled in restau­rants.”

The fine din­ing-car expe­ri­ence might also include nov­el­ty items pas­sen­gers would be unlike­ly to find any­where else, such as North­west­ern Pacific’s Great Baked Pota­to, “a mon­strous spud,” Voon explains, “that could weigh any­where between two to five pounds” and came served with “an appro­pri­ate­ly sized but­ter pat.” One can see the appeal for a food and trav­el enthu­si­ast like Sil­ver­man, who had the priv­i­lege of try­ing dish­es on most of these menus for him­self.

The rest of us will have to rely on our gus­ta­to­ry imag­i­na­tions to con­jure what it might have been like to eat prime rib on the West­ern Star in the Pacif­ic North­west in the ear­ly 60s, or braised smoked pork loin on an Amtrak train in 1972. If your mem­o­ries of din­ing on a train most­ly con­sist of pulling sog­gy, microwaved “food” from steam­ing hot plas­tic bags, or munch­ing on pack­aged, processed salty snacks, expand your sense of what rail­road din­ing could be at the Ira Sil­ver­man Rail­road Menu Col­lec­tion here.

via Atlas Obscu­ra

Relat­ed Con­tent:

Food­ie Alert: New York Pub­lic Library Presents an Archive of 17,000 Restau­rant Menus (1851–2008)

Mark Twain Makes a List of 60 Amer­i­can Com­fort Foods He Missed While Trav­el­ing Abroad (1880)

What Pris­on­ers Ate at Alca­traz in 1946: A Vin­tage Prison Menu

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

160,000 Pages of Glorious Medieval Manuscripts Digitized: Visit the Bibliotheca Philadelphiensis

We might think we have a gen­er­al grasp of the peri­od in Euro­pean his­to­ry immor­tal­ized in theme restau­rant form as “Medieval Times.” After all, writes Amy White at Medievalists.net, “from tat­toos to video games to Game of Thrones, medieval iconog­ra­phy has long inspired fas­ci­na­tion, imi­ta­tion and ven­er­a­tion.” The mar­ket for sword­play, armor, quests, and sor­cery has nev­er been so crowd­ed.

But whether the his­tor­i­cal peri­od we call medieval (a word derived from medi­um aevum, or “mid­dle age”) resem­bled the mod­ern inter­pre­ta­tions it inspired presents us with anoth­er ques­tion entirely—a ques­tion inde­pen­dent and pro­fes­sion­al schol­ars can now answer with free, easy ref­er­ence to “high-res­o­lu­tion images of more than 160,000 pages of Euro­pean medieval and ear­ly mod­ern codices”: rich­ly illu­mi­nat­ed (and ama­teur­ish­ly illus­trat­ed) man­u­scripts, musi­cal scores, cook­books, and much more.

The online project, called Bib­lio­the­ca Philadel­phien­sis, hous­es its dig­i­tal col­lec­tion at the Inter­net Archive and rep­re­sents “vir­tu­al­ly all of the hold­ings of PACSCL [Philadel­phia Area Con­sor­tium of Spe­cial Col­lec­tions Libraries],” a wealth of doc­u­ments from Prince­ton, Bryn Mawr, Vil­lano­va, Swarth­more, and many more col­lege and uni­ver­si­ty libraries, as well as the Amer­i­can Philo­soph­i­cal Soci­ety, Nation­al Archives at Philadel­phia, and oth­er august insti­tu­tions of high­er learn­ing and con­ser­va­tion.

Lehigh Uni­ver­si­ty “con­tributed 27 man­u­scripts amount­ing to about 5,000 pages,” writes White, includ­ing “a 1462 hand­writ­ten copy of Virgil’s Aeneid with pen­ciled sketch­es in the mar­gins” (see above). There are man­u­scripts from that peri­od like the Ital­ian Trac­ta­tus de mal­efici­is (Trea­tise on evil deeds), a legal com­pendi­um from 1460 with “thir­ty-one mar­gin­al draw­ings in ink” show­ing “var­i­ous crimes (both delib­er­ate and acci­den­tal) being com­mit­ted, from sword-fights and mur­ders to hunt­ing acci­dents and a hang­ing.”

The Trac­ta­tus’ draw­ings “do not appear to be the work of a pro­fes­sion­al artist,” the notes point out, though it also con­tains pages, like the image at the top, show­ing a trained illu­mi­na­tor’s hand. The Bib­lio­the­ca Philadel­phien­sis archive includes 15th and 16th-cen­tu­ry recipes and extracts on alche­my, med­ical texts, and copi­ous Bibles and books of prayer and devo­tion. There is a 1425 edi­tion of Chaucer’s Can­ter­bury Tales in Mid­dle Eng­lish (lack­ing the pro­logue and sev­er­al tales).

These may all seem of recent vin­tage, rel­a­tive­ly speak­ing, for a medieval archive, but the col­lec­tion reach­es back to the 9th cen­tu­ry, with hun­dreds of doc­u­ments, like the 1000 AD music man­u­script above, from a far ear­li­er time. “Users can view, down­load and com­pare man­u­scripts in near­ly micro­scop­ic detail,” notes White. “It is the nation’s largest region­al online col­lec­tion of medieval man­u­scripts,” a col­lec­tion schol­ars can draw on for cen­turies to come to learn what life was real­ly like—at least for the few who could read and write—in Medieval Times.

via Medievalists.net

Relat­ed Con­tent: 

Why Knights Fought Snails in Illu­mi­nat­ed Medieval Man­u­scripts

800 Illu­mi­nat­ed Medieval Man­u­scripts Are Now Online: Browse & Down­load Them Cour­tesy of the British Library and Bib­lio­thèque Nationale de France

The Medieval Mas­ter­piece, the Book of Kells, Is Now Dig­i­tized & Put Online

A Free Yale Course on Medieval His­to­ry: 700 Years in 22 Lec­tures

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

The Cameraman’s Revenge (1912): The Truly Weird Origin of Modern Stop-Motion Animation

These days, ever more ambi­tions com­put­er-ani­mat­ed spec­ta­cles seem to arrive in the­aters every few weeks. But how many of them cap­ture our imag­i­na­tions as ful­ly as works of the thor­ough­ly ana­log art of stop-motion ani­ma­tion? The uncan­ny effect (and imme­di­ate­ly vis­i­ble labor-inten­sive­ness) of real, phys­i­cal pup­pets and objects made to move as if by them­selves still cap­ti­vates view­ers young and old: just watch how the Wal­lace and Gromit series, Ter­ry Gilliam’s Mon­ty Python shorts, The Night­mare Before Christ­mas, and even the orig­i­nal King Kong as well as Ray Har­ry­hausen’s mon­sters in Jason and the Arg­onauts and The 7th Voy­age of Sin­bad have held up over the decades.

The film­mak­ers who best under­stand the mag­ic of cin­e­ma still use stop-motion today, as Wes Ander­son has in The Fan­tas­tic Mr. Fox and Isle of Dogs. They all owe some­thing to a Pol­ish-Russ­ian ani­ma­tor of the ear­ly-to-mid-20th cen­tu­ry by the name of Ladis­las Stare­vich. Long­time Open Cul­ture read­ers may remem­ber the works of Stare­vich pre­vi­ous­ly fea­tured here, includ­ing the Goethe adap­ta­tion The Tale of the Fox and the much ear­li­er The Cam­era­man’s Revenge, a tale of infi­deli­ty and its con­se­quences told entire­ly with dead bugs for actors. Stare­vich, then the Direc­tor of the Muse­um of Nat­ur­al His­to­ry in Kau­nas, Lithua­nia, pulled off this cin­e­mat­ic feat “by installing wheels and strings in each insect, and occa­sion­al­ly replac­ing their legs with plas­tic or met­al ones,” says Phil Edwards in the Vox Almanac video above.

“How Stop Motion Ani­ma­tion Began” comes as a chap­ter of a minis­eries called Almanac Hol­ly­would­n’t, which tells the sto­ries of “big changes to movies that came from out­side Hol­ly­wood.” It would be hard indeed to find any­thing less Hol­ly­wood than a man installing wheels and strings into insect corpses at a Lithuan­ian muse­um in 1912, but in time The Cam­era­man’s Revenge proved as deeply influ­en­tial as it remains deeply weird. Stare­vich kept on mak­ing films, and sin­gle­hand­ed­ly fur­ther­ing the art of stop-motion ani­ma­tion, until his death in France (where he’d relo­cat­ed after the Russ­ian Rev­o­lu­tion) in 1965.

And though Stare­vich may not be a house­hold name today, Edwards reveals while trac­ing the sub­se­quent his­to­ry of stop-motion ani­ma­tion that cin­e­ma has­n’t entire­ly failed to pay him trib­ute: Ander­son­’s The Fan­tas­tic Mr. Fox is in a sense a direct homage to The Tale of the Fox, and Gilliam has called Stare­vich’s work “absolute­ly breath­tak­ing, sur­re­al, inven­tive and extra­or­di­nary, encom­pass­ing every­thing that Jan Svankma­jer, Waler­ian Borow­czyk and the Quay Broth­ers would do sub­se­quent­ly.” He sug­gests that, before we enter the “mind-bend­ing worlds” of more recent ani­ma­tors, we “remem­ber that it was all done years ago, by some­one most of us have for­got­ten about now” — and with lit­tle more than a few dead bugs at that.

Relat­ed Con­tent:

Watch The Amaz­ing 1912 Ani­ma­tion of Stop-Motion Pio­neer Ladis­las Stare­vich, Star­ring Dead Bugs

The Tale of the Fox: Watch Ladis­las Starevich’s Ani­ma­tion of Goethe’s Great Ger­man Folk­tale (1937)

The Mas­cot, a Pio­neer­ing Stop Ani­ma­tion Film by Wla­dys­law Starewicz

The His­to­ry of Stop-Motion Films: 39 Films, Span­ning 116 Years, Revis­it­ed in a 3‑Minute Video

Ray Harryhausen’s Creepy War of the Worlds Sketch­es and Stop-Motion Test Footage

Spike Jonze’s Stop Motion Film Haunt­ing­ly Ani­mates Paris’ Famed Shake­speare and Com­pa­ny Book­store

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Doris Kearns Goodwin Teaches U.S. Presidential History & Leadership

FYI: Pres­i­den­tial his­to­ri­an Doris Kearns Goodwin–author of Lead­er­ship: In Tur­bu­lent Times, Team of Rivals: The Polit­i­cal Genius of Abra­ham Lin­coln, and No Ordi­nary Time: Franklin & Eleanor Roo­sevelt–has just released a new online course on Mas­ter­Class. Here’s the ground that the course cov­ers:

Alto­geth­er, she’s spent more than 50 years study­ing great Amer­i­can pres­i­dents and lead­ers of the past, writ­ing sev­er­al award-win­ning, best­selling biogra­phies, includ­ing No Ordi­nary Time: Franklin and Eleanor Roo­sevelt: The Home Front in World War II, which won the Pulitzer Prize for His­to­ry. Now she’s shar­ing her knowl­edge and teach­ing you to lead like a pres­i­dent.

In Doris’s Mas­ter­Class, you can learn to devel­op the char­ac­ter­is­tics and human skills of excep­tion­al Amer­i­can lead­er­ship, from Lin­coln to Oba­ma. Doris brings to life the sto­ries and expe­ri­ences of four pres­i­dents she knows by heart—Lincoln, Ted­dy Roo­sevelt, FDR, and LBJ—and shares a tem­plate of human skills that make great lead­ers: humil­i­ty, empa­thy, resilience, self-aware­ness, self-reflec­tion, the abil­i­ty to cre­ate a team and com­mu­ni­cate through sto­ries, and shar­ing your ambi­tion for the greater good. She also uses exam­ples from oth­er his­tor­i­cal fig­ures, includ­ing Eleanor Roo­sevelt, Win­ston Churchill, and Mar­tin Luther King Jr., to teach effec­tive lead­er­ship qual­i­ties and prac­ti­cal wis­dom for every day. Learn how to make bet­ter deci­sions, man­age a cri­sis, and get a mes­sage across, whether you’re inter­act­ing with the media, com­mu­ni­cat­ing to a team at work, or deliv­er­ing a speech meant to inspire and empow­er thou­sands of peo­ple.

In this class, you’ll learn about:
• Devel­op­ing emo­tion­al intel­li­gence
• Expe­ri­ences and sto­ries of U.S. pres­i­dents
• Build­ing resilience
• Build­ing and lead­ing a team
• Mak­ing bet­ter deci­sions, big or small
• Nav­i­gat­ing a cri­sis
• Deliv­er­ing a mes­sage and con­sid­er­ing an audi­ence
• The pow­er of speech­es
• Replen­ish­ing your ener­gy
• Civic engage­ment

You can sign up for Kearns Good­win’s course here.

As a free unre­lat­ed bonus, you can stream Kearns Good­win’s long inter­view with Tim Fer­ris. There, she takes an engag­ing look at the lead­er­ship skills of four Amer­i­can presidents–Lincoln, FDR, Ted­dy Roo­sevelt and LBJ. It’s well worth a lis­ten…

FYI: If you sign up for a Mas­ter­Class course by click­ing on the affil­i­ate links in this post, Open Cul­ture will receive a small fee that helps sup­port our oper­a­tion.

Relat­ed Con­tent:

Free Online His­to­ry Cours­es

How to Take Every Mas­ter­Class Course For Less Than a Cup of Good Cof­fee

The 2,000+ Films Watched by Pres­i­dents Nixon, Carter & Rea­gan in the White House

 

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How to Behave in a British Pub: A World War II Training Film from 1943, Featuring Burgess Meredith

Fore­warned is fore­armed, so in 1943, the Unit­ed States Office of War Infor­ma­tion cre­at­ed a train­ing film to pre­vent sol­diers bound for Great Britain from earn­ing their Ugly Amer­i­can stripes.

The excerpt above con­cen­trates on pub eti­quette, cast­ing actor and Army Air Corps cap­tain Burgess Mered­ith in the role of a dis­creet mil­i­tary Vir­gil, explain­ing in hushed tones the British pen­chant for non-chilled beer and smok­ing or read­ing the paper unmo­lest­ed.

He also cau­tions incom­ing GIs against throw­ing their mon­ey around or mak­ing fun of kilt-wear­ing Scotsmen—commonsense advice that still applies.

To ensure the mes­sage sticks, he con­jures a cringe­wor­thy, semi-sloshed bad apple, who struts around in uni­form, bray­ing insults at the locals, until he dis­ap­pears in a puff of smoke.

No won­der the reception’s a bit frosty, when Mered­ith, ven­tures forth, also in uni­form. But unlike the brash bad­die who went before, Mered­ith has vet­ted his hosts, approach­ing as one might a skit­tish ani­mal. He offers cig­a­rettes, enjoys a game of darts as a spec­ta­tor, and buys his new friends drinks, being care­ful to choose some­thing in their price range, know­ing that they will insist on rec­i­p­ro­cat­ing in kind.

The film is pri­mar­i­ly con­cerned with teach­ing restraint.

In anoth­er sec­tion of the not-quite-38-minute film offi­cial­ly called A Wel­come to Britain (see below), Mered­ith cau­tions young recruits to take small por­tions of food, know­ing how restrict­ed their hosts’ rations are.

The most uncom­fort­able teach­able moment comes when an elder­ly Eng­lish­woman spon­ta­neous­ly invites a black GI to tea, after thank­ing him for his ser­vice:

Now look men, you heard that con­ver­sa­tion, that’s not unusu­al here. It’s the sort of thing that hap­pens quite a lot. Now let’s be frank about it, there are col­ored sol­diers as well as white here, and there are less social restric­tions in this coun­try. An Eng­lish woman ask­ing a col­ored boy to tea, he was polite about it, and she was polite about it. Now, that might not hap­pen at home, but the point is, we’re not at home, and the point is too, if we bring a lot of prej­u­dices here, what are we going to do about them?

(No advice to young black sol­diers on whether they’re hon­or bound to accept, should an elder­ly Eng­lish­woman invite them to tea, when they were per­haps en route to the pub.)

Watch the entire­ty of A Wel­come to Britain, includ­ing a cameo by Bob Hope at the 30 minute mark, here.

For an updat­ed guide to British pub eti­quette, check out the Amer­i­can expats of Post­mod­ern Fam­i­ly reac­tion video here.

via Daniel Hol­land

Relat­ed Con­tent:

Free: British Pathé Puts Over 85,000 His­tor­i­cal Films on YouTube

1,000,000 Min­utes of News­reel Footage by AP & British Movi­etone Released on YouTube

How the Fences & Rail­ings Adorn­ing London’s Build­ings Dou­bled (by Design) as Civil­ian Stretch­ers in World War II

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in NYC on Mon­day, Decem­ber 9 when her month­ly book-based vari­ety show, Necro­mancers of the Pub­lic Domain cel­e­brates Dennison’s Christ­mas Book (1921). Fol­low her @AyunHalliday.

Dramatic Color Footage Shows a Bombed-Out Berlin a Month After Germany’s WWII Defeat (1945)

From Kro­nos Media comes a pret­ty astound­ing mon­tage of video show­ing Berlin in July 1945 — just two months after the Nazis lost The Bat­tle of Berlin and Hitler com­mit­ted sui­cide, and a month after the allies signed the Dec­la­ra­tion Regard­ing the Defeat of Ger­many and the Assump­tion of Supreme Author­i­ty by Allied Pow­ers

The near­ly 75-year-old footage shows a city in sham­bles. You see the wound­ed, and build­ings reduced to piles of rub­ble. The Reich­stag makes an appear­ance, as does the worn-out Bran­den­burg Gate, through which res­i­dents passed from British-con­trolled Berlin to Sovi­et-con­trolled Berlin. And most­ly you see every­day peo­ple try­ing to get on with their lives. Most chill­ing is the final scene, where an aer­i­al shot car­ries you over miles and miles of des­o­la­tion. To see Berlin dur­ing an ear­li­er, cer­tain­ly bet­ter time, vis­it our 2013 post: Berlin Street Scenes Beau­ti­ful­ly Caught on Film Between 1900 and 1914.

Note: An ear­li­er ver­sion of this post appeared on our site in May 2015.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent

Watch World War II Rage Across Europe in a 7 Minute Time-Lapse Film: Every Day From 1939 to 1945

The Fin­land Wartime Pho­to Archive: 160,000 Images From World War II Now Online

22-Year-Old P.O.W. Kurt Von­negut Writes Home from World War II: “I’ll Be Damned If It Was Worth It”

Down­load 78 Free Online His­to­ry Cours­es: From Ancient Greece to The Mod­ern World

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Every Nuclear Bomb Explosion in History, Animated

I sus­pect many few­er peo­ple are assigned John Hersey’s Hiroshi­ma, a book most every­one in my cohort read at some stage in their edu­ca­tion. And cer­tain­ly, far few­er peo­ple are sub­ject­ed to the kind of alarmist (and rea­son­ably so) pro­pa­gan­da films that dra­ma­tized the gris­ly details of fall­out and nuclear win­ter. Even the recent HBO minis­eries Cher­nobyl, with its grotesque depic­tion of radi­a­tion poi­son­ing, prompt­ed a wave of tourism to the site, draw­ing Insta­gram gen­er­a­tion gawk­ers born too late to have heard the ter­ri­fy­ing news first­hand.

Yet, the threat of a nuclear dis­as­ter and its atten­dant hor­rors has hard­ly gone away. The UN Gen­er­al Assem­bly issued a state­ment this year warn­ing of the high­est poten­tial for a dev­as­tat­ing inci­dent since the Cuban Mis­sile Cri­sis. We are enter­ing a new era of nuclear pro­lif­er­a­tion, with many coun­tries who have no love for each oth­er join­ing the race. “As the risk of nuclear con­fronta­tion grows,” writes Simon Tis­dall at The Guardian, “the cold war sys­tem of treaties that helped pre­vent Armaged­don is being dis­man­tled, large­ly at Trump’s behest.” Calls for a No-First-Use pol­i­cy in the U.S. have grown more urgent.

Liv­ing mem­o­ry of the peri­od in which two glob­al super­pow­ers almost destroyed each oth­er, and took every­one else with them, has not deterred the archi­tects of today’s geopol­i­tics. But remem­ber­ing that his­to­ry should nonethe­less be required of us all. In the Busi­ness Insid­er video above, you can get a sense of the scope of nuclear test­ing that esca­lat­ed through­out the Cold War, in an ani­mat­ed time­line show­ing every sin­gle explo­sion in Japan and the var­i­ous test­ing sites in Rus­sia, New Mex­i­co, Aus­tralia, and the Pacif­ic Islands from 1945 into the 1990s, when they final­ly drop off. As the decades progress, more coun­tries amass arse­nals and con­duct their own test­ing.

Despite the expert warn­ings, some­thing cer­tain­ly has changed since the fall of the Sovi­et Union. Over a forty year peri­od, the U.S. and the U.S.S.R. trained to anni­hi­late the oth­er, and the prospect of nuclear war became an extinc­tion-lev­el event. That may not be the case in a frag­ment­ed, mul­ti­po­lar world with many small­er coun­tries vying for region­al suprema­cy. But a nuclear event, inten­tion or acci­den­tal, could still be cat­a­stroph­ic on the order of thou­sands or mil­lions of deaths. The ani­ma­tion shows us how we got here, through decades of nor­mal­iz­ing the stock­pil­ing and test­ing of the ulti­mate weapons of mass destruc­tion.

Relat­ed Con­tent:

53 Years of Nuclear Test­ing in 14 Min­utes: A Time Lapse Film by Japan­ese Artist Isao Hashimo­to

Pro­tect and Sur­vive: 1970s British Instruc­tion­al Films on How to Live Through a Nuclear Attack

U.S. Det­o­nates Nuclear Weapons in Space; Peo­ple Watch Spec­ta­cle Sip­ping Drinks on Rooftops (1962)

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Quentin Tarantino’s World War II Reading List

Image by Georges Biard, via Wiki­me­dia Com­mons

With his first three fea­tures Reser­voir Dogs, Pulp Fic­tion, and Jack­ie Brown, Quentin Taran­ti­no claimed 1990s Los Ange­les as his own. Then he struck bold­ly out into not just new geo­graph­i­cal and cul­tur­al ter­ri­to­ries, but oth­er time peri­ods. With his first full-on peri­od piece, 2009’s Inglou­ri­ous Bas­ter­ds, he showed audi­ences just how he intend­ed to use his­to­ry: twist­ing it for his own cin­e­mat­ic pur­pos­es, of course, but only mak­ing his depar­tures after steep­ing him­self in accounts of the time in which he envi­sioned his sto­ry tak­ing place. This nat­u­ral­ly involves plen­ty of read­ing, and Taran­ti­no recent­ly pro­vid­ed His­to­ryNet with a few titles that helped him prop­er­ly sit­u­ate Inglou­ri­ous Bas­ter­ds in the Europe of the Sec­ond World War.

Taran­ti­no calls Ian Ous­by’s Occu­pa­tion: The Ordeal of France 1940–1944 “a very good overview that answered all of my ques­tions about life in Nazi-occu­pied France.” Ulysses Lee’s The Employ­ment of Negro Troops is “the most pro­found thing I’ve ever read on both the war and racist Amer­i­ca of the 1940s, com­mis­sioned by the U.S. Army to exam­ine the effec­tive­ness of their employ­ment of black sol­diers.” And for Taran­ti­no, who does­n’t just make films but lives and breathes them, under­stand­ing Nazi Ger­many means under­stand­ing its cin­e­ma, begin­ning with Eric Rentschler’s Min­istry of Illu­sion: Nazi Cin­e­ma and Its After­life, “a won­der­ful crit­i­cal reex­am­i­na­tion of Ger­man cin­e­ma under Joseph Goebbels” that “goes far beyond the demo­niz­ing approach employed by most writ­ers on this sub­ject,” includ­ing even excerpts from Goebbels’ diaries.

Rentschler also “dares to make a fair appraisal of Nazi film­mak­er Veit Har­lan,” who made anti­se­mit­ic block­busters as one of Goebbels’ lead­ing pro­pa­gan­da direc­tors. But the work of no Nazi film­mak­er had as much of an impact as that of Leni Riefen­stahl, two books about whom Taran­ti­no puts on his World War II read­ing list: Glenn B. Infield­’s Leni Riefen­stahl: The Fall­en Film God­dess, the first he ever read about her, as well as Riefen­stahl’s epony­mous mem­oir, which he calls “mes­mer­iz­ing. Though you can’t believe half of it. That still leaves half to pon­der. Her descrip­tions of nor­mal friend­ly con­ver­sa­tions with Hitler are amaz­ing and ring of truth” — and that praise comes from a film­mak­er who made his own name with good dia­logue.

In a recent DGA Quar­ter­ly con­ver­sa­tion with Mar­tin Scors­ese, Taran­ti­no revealed that he’s also at work on a book of his own about that era: “I’ve got this char­ac­ter who had been in World War II and he saw a lot of blood­shed there. Now he’s back home, and it’s like the ’50s, and he does­n’t respond to movies any­more. He finds them juve­nile after every­thing that he’s been through. As far as he’s con­cerned, Hol­ly­wood movies are movies. And so then, all of a sud­den, he starts hear­ing about these for­eign movies by Kuro­sawa and Felli­ni,” think­ing “maybe they might have some­thing more than this pho­ny Hol­ly­wood stuff.” He soon finds him­self drawn inex­orably in: “Some of them he likes and some of them he does­n’t like and some of them he does­n’t under­stand, but he knows he’s see­ing some­thing.” This is hard­ly the kind of premise that leads straight to the kind of vio­lent cathar­sis in which Taran­ti­no spe­cial­izes, but then, he’s pulled off more unlike­ly artis­tic feats in his time.

via His­to­ryNet

Relat­ed Con­tent:

Quentin Taran­ti­no Explains How to Write & Direct Movies

How Quentin Taran­ti­no Steals from Oth­er Movies: A Video Essay

How Quentin Taran­ti­no Cre­ates Sus­pense in His Favorite Scene, the Ten­sion-Filled Open­ing Moments of Inglou­ri­ous Bas­ter­ds

The Films of Quentin Taran­ti­no: Watch Video Essays on Pulp Fic­tionReser­voir DogsKill Bill & More

Leni Riefenstahl’s Tri­umph of the Will Wasn’t a Cin­e­mat­ic Mas­ter­piece; It Was a Stag­ger­ing­ly Effec­tive Piece of Pro­pa­gan­da

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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